A Midsummer Night’s Dream – Munich Creative Writers Workshop – June 23

“Lovers and madmen have such seething brains,
Such shaping fantasies, that apprehend
More than cool reason ever comprehends.
The lunatic, the lover and the poet
Are of imagination all compact:
One sees more devils than vast hell can hold,
That is, the madman: the lover, all as frantic,
Sees Helen’s beauty in a brow of Egypt:
The poet’s eye, in fine frenzy rolling,
Doth glance from heaven to earth, from earth to heaven;
And as imagination bodies forth
The forms of things unknown, the poet’s pen
Turns them to shapes and gives to airy nothing
A local habitation and a name.”

~ Theseus, Act V, Scene 1

On Friday June 23 at 6 pm, Rita Banerjee will be teaching a creative writing workshop for Munich Creative Writers inspired by Shakespeare’s A Midsummer Night’s Dream.  For more information on upcoming Munich Creative Writers workshops and meetings, please visit their website here.

Character Development & The Law of Desire – Munich Readery Creative Writing Workshop – July 22

Character Development & The Law of Desire
Saturday July 22, 2017 * 9:00 – 12:00

The Munich ReaderyAugustenstraße 104, 80798 München

Femme fatales, gumshoe detectives, star-crossed lovers, wicked stepmothers, wise fools, empathetic anti-heroes: dynamic and archetypal characters can be key to making a good story or lyrical piece tick and pulling in the reader deeper into your creative work. In this workshop, we will discuss how dynamic and archetypal characters can help structure stories, propel narratives forwards, and how each character’s desire provides interesting ethical dilemmas and emotional spectrums to narratives and verse. We will learn about the building blocks of creating strong, unforgettable characters, discuss the connection between desire and plot, and learn how playing with persona can help liberate nonfictional stories and lyrical poems. So if you’re currently working on a short story, novel, screenplay, theatre play, lyrical essay, memoir, or poem which has a strong and unique character at is heart, come stop by the Munich Readery on Saturday July 22 for our next creative writing workshop led by Rita Banerjee.  To register, send an email to John by July 15, 2017 at: store@themunichreadery.com. Workshop Fee: €35.

Revising, Pitching, and Publishing – Munich Readery Creative Writing Workshop – July 9


Revising, Pitching, and Publishing

Sunday July 9, 2017 * 13:00-16:00

The Munich ReaderyAugustenstraße 104, 80798 München

While Allen Ginsberg and the Beats touted the philosophy of “First Thought, Best Thought,” and the merits of spontaneous writing, in this workshop, we’ll explore the role that revision plays in landing the perfect publication deal. We’ll take a look at what it takes to pitch to literary journals, and get that poem, short story, memoir, essay, or play published. We’ll discuss why writers should network, and when writers should look for literary agents, and we will demystify elements of the publishing and creative writing industry at large. In addition, we’ll have some fun with our writing and revisions as well! So if you’re currently working on a short story, novel, screenplay, theatre play, lyrical essay, memoir, or poem which you’d like to revise and published, come stop by the Munich Readery on Sunday July 9 for our next creative writing workshop led by Rita Banerjee.  To register, send an email to John by July 2, 2017 at: store@themunichreadery.com. Workshop Fee: €35.

Cambridge Writers’ Workshop featured in The Independent (UK)

The Cambridge Writers’ Workshop is delighted to be featured in the British newspaper, The Independent, in their recent feature article, “World of Books: Ready to Write Your Own Best-seller?”  The article focuses on the Cambridge Writers’ Workshop Summer in Granada Writing Retreat (Aug 2-6, 2017), and quotes Jennifer Howard’s feature from The Washington Post:

You’ve spent too many summers reading novels, isn’t it about time you started to write one yourself.  Jennifer Howard selects the best of the world’s writing retreats:

Summer in Granada is part of a series of retreats created by writers Rita Banerjee and Diana Norma Szokolyai. They describe their retreat model as a kind of roving salon, with previous sessions in Paris and at a chateau in Picardy, among its envy-inducing locations. “All of these places have a very alive and electric culture, a culture that exists on the streets, in the imagination,” Banerjee says.

To read the complete article, please visit the The Independent’s British edition here.  Applications and scholarships for our Summer in Granada Writing Retreat (Aug 2-6, 2017) are open until June 20, 2017.  Please apply at cww.submittable.com.

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Cambridge Writers’ Workshop Summer in Granada, Spain Writing Retreat featured in The Washington Post

Original illustration by Lisk Feng for The Washington Post

The Cambridge Writers’ Workshop is delighted to be chosen as one of the six best writing retreats for the summer in The Washington Post‘s recent feature, “When You’re Ready to Move from Summer Writing to Summer Reading.”  In the article, journalist Jennifer Howard writes:

Your boss doesn’t care if you finish your novel. Your partner would rather not hear about the memoir you’ve been threatening to write. Feeling discouraged? It may be time to escape the creativity-quashing grind and reconnect with your muse in a lovely locale.

Whether you like Midwestern lakes or Icelandic hot springs, there’s a writers retreat for you. Here are half a dozen programs where you can spend quality time with your journal or get started on the next bestseller:

For culture connoisseurs

If tapas and flamenco are more your thing, the Summer in Granada retreat, sponsored by the Cambridge Writers’ Workshop, promises a warm cultural bath: “Let the old city stimulate your writing with its winding streets, Moorish history, and evocative landscapes,” the website says.

Summer in Granada is part of a series of retreats created by writers Rita Banerjee and Diana Norma Szokolyai. They describe their retreat model as a kind of roving salon, with previous sessions in Paris and at a chateau in Picardy, among its envy-inducing locations. “All of these places have a very alive and electric culture, a culture that exists on the streets, in the imagination,” Banerjee says.

This summer, participating writers will enjoy an “experiential tour” alongside workshops and writing sessions. Fiction writer Tim Horvath will teach a “writing from the senses” class that includes a visit to a “museum of smells,” a visit to a chocolatier and a tapas tour. “No matter how intellectual writing gets, you always want to draw in the senses and immerse the reader,” he says. (Did we mention chocolate?)

Cost/duration: $2,950; four nights. Some scholarships available.

To read the complete article, please visit the The Washington Post website here.  Print versions of the article will be available on June 11, 2017.

Applications and scholarships for our Summer in Granada Writing Retreat (Aug 2-6, 2017) are open until June 20, 2017.  Please apply at cww.submittable.com.

Mad Heart Be Brave now available from the University of Michigan Press!

Born and raised in Kashmir, Agha Shahid Ali (1949–2001) came to the United States in the mid-1970s to pursue graduate study in literature; by the mid-1980s, he had begun to establish himself as one of the most important American poets of the late 20th century.  Mad Heart Be Brave: On the Poetry of Agha Shahid Ali is the first comprehensive examination of all stages of his career, from his earliest work published in India but never reissued in the U.S., through his seven poetry volumes from American publishers, ultimately collected as The Veiled Suite.  Contributors to this volume include Sejal Shah, Rita Banerjee, Amanda Golden, Ravi Shankar, Abin Chakraborty, Amy Newman, Christopher Merrill, Jason Schneiderman, Stephen Burt, Raza Ali Hassan, Syed Humayoun, Feroz Rather, Dur e Aziz Amna, Mihaela Moscaliuc, Reginald Dwayne Betts, Mahwash Shoaib, Shadab Zeest Hashmi, Grace Schulman, and Ada Limón. Mad Heart Be Brave closes with a long biographical sketch and elegy by Agha Shahid Ali’s friend Amitav Ghosh and a comprehensive bibliography assembled by scholar Patricia O’Neill with Reid Larson.

In her essay, “Between Postindependence and the Cold War: Agha Shahid Ali’s Publications with the Calcutta Writers Workshop,” Rita Banerjee writes:  “In 1958, editor, critic, translator, and poet P. Lal established the English-language creative writing group the Writers Workshop in Kolkata. The Writers Workshop helped launch the careers of many well-known English-language South Asian authors, such as Anita Desai, Bharati Mukherjee, Vikram Seth, A. K. Ramanujan, Arvind Krishna Mehrotra, and Agha Shahid Ali. As an editor, P. Lal was a key figure in establishing the relevance and necessity of Anglophone South Asian writing in the postindependence period. His seminal work, Modern Indian Poetry in English: The Writers Workshop Selection, an Anthology & a Credo (1969) served as a manifesto for the function and viability of Indian English literature in the postindependence period and featured one of Agha Shahid Ali’s most dystopian and memorable poems, “Lunarscape.” In the poem Ali not only critiqued the rivalry between the United States and the USSR during the Cold War but also presented the recent American moon landing as a neocolonial and self-destructive move. After the publication of “Lunarscape,” Agha Shahid Ali went on to publish his first and second collections of poems, Bone-Sculpture (1972) and In Memory of Begum Akhtar (1979) with P. Lal’s Writers Workshop. Ali’s first collection, Bone-Sculpture, featured several poems that reflected his response to the postindependence and postpartition realities of South Asia, his own conflicted feelings over his divided home state of Kashmir, and poems that responded to the Cold War, cultural revolutions, and other global political events of the time and captured Ali’s own experiences of immigration…”  To read the full essay, please order Mad Heart Be Brave: On the Poetry of Agha Shahid Ali from the University of Michigan Press here.

Summer in Granada, Andalucía, Spain Writing Retreat – June 20, 2017 Deadline


The Cambridge Writers’ Workshop’s Summer in Granada Writing Retreat will take place from August 2-6, 2017. Located at the foot of the Sierra Nevada mountains in Andalucía, Granada is one of the gems of Spain and has inspired writers from Washington Irving to Salman Rushdie to Ali Smith. Let the old city stimulate your writing with its winding streets, Moorish history, and evocative landscapes. Located at the foot of the Sierra Nevada mountains in Andalucía, Granada is one of the gems of Spain and has inspired writers from Washington Irving to Salman Rushdie to Ali Smith. Let the old city stimulate your writing with its winding streets, Moorish history, and evocative landscapes. The retreat offers multi-genre workshops, as well as craft seminars and time to write. The faculty includes award-winning writers Tim Horvath, Alexandria Marzano-Lesnevich, Rita Banerjee, and Diana Norma Szokolyai. Genres include fiction, nonfiction, and poetry.  To apply, please submit an application at http://cww.submittable.com by June 20, 2017.

Schedule of Classes:

Character Development & the Law of Desire (with Rita Banerjee)

Femme fatales, gumshoe detectives, star-crossed lovers, wicked stepmothers, wise fools, empathetic anti-heroes: dynamic and archetypal characters can be key to making a good story or lyrical piece tick and pulling in the reader deeper into your creative work. In this workshop, we will discuss how dynamic and archetypal characters can help structure stories, propel narratives forwards, and how each character’s desire provides interesting ethical dilemmas and emotional spectrums to narratives and verse. We will learn about the building blocks of creating strong, unforgettable characters, discuss the connection between desire and plot, and learn how playing with persona can help liberate nonfictional stories and lyrical poems. 

Writing from the Senses (with Tim Horvath)

Memorable writing often engages the senses first and foremost, immersing us in a character’s perceptions and sensations, and thus allowing us to dwell inside that character’s perspective. In this class, we’ll strive to make our writing more wholly and richly embodied by engaging the senses directly, building our abilities to depict each individually like a muscle group, and eventually intertwining them in synesthesia for the fullest effect. We explore each of the senses in turn by looking at exemplary instances where a writer is able to conjure the sense effectively.  We’ll take focused walks, taste local foods, do ekphrastic writing in museums, and attempt to capture sounds from that of traffic to flamenco guitar to the idiosyncratic grain of the individual human voice in multiple languages. This class also cuts across genres, shifting seamlessly between poetry, fiction, and creative nonfiction, grounding each in an embodied experience of the world. When we travel abroad, our senses are generally enlivened to begin with, and so you can think of this class as a way to translate that enhanced awareness into equally vivid words on the page.

The Storyteller’s Voice (with Alexandria Marzano-Lesnevich)

Of all types of prose, personal narrative is perhaps the most inherently voice-driven. After all, the reader is essentially choosing to spend a lot of time with you, the author. Too often, the writer’s desire to be relatable on the page results in a watered-down, bland voice, when a distinctive voice is what’s needed to keep the reader engaged. (As V.S.Pritchett put it, in memoir, you get no credit for the living—it’s all in how the living’s told.) So how can you find—and sharpen—your narrative voice? Will it be crisp like Didion’s? Humorously exaggerated like Sedaris’s? Lyrically gritty like Ballantine’s? We’ll look at exceptional examples of voice in memoir and personal essays, and diagnose what makes them so successful. We’ll discuss ways to identify and amplify whatever yours is, working to make it even more distinctive. Come prepared with an essay or chapter draft to work on.

Leyendo Intensamente: Writers Reading Spanish/Latin American Literature in Translation (with Tim Horvath)

It is a given that writers must learn to read closely, with attention to nuance and craft, to unravel the methods by which other writers have managed to tell stories effectively and adapt them for their own purposes. In this class, we’ll focus on writers in Spanish and Portuguese, from canonical authors like Borges, Marquez, Valenzuela, Cortázar, and Lispector to contemporary luminaries and up-and-comers such as Eduardo Halfon, Valeria Luiselli, Javier Marías, and Laia Jufresa. We’ll swerve through techniques of developing metafiction and surrealism, magical realism, and philosophical fiction, and blending these with realism where suitable. We’ll also explore the fraught, infinitely rich topic of translation, discussing its complexities really and the ways that understanding the innumerable decisions involved in bringing a work into another language can shed light on the act of “translating” any experience or concept from mind or world onto the page, i.e. writing itself.

Life Isn’t A Book Structure: Strategies for Shaping Memoir (with Alexandria Marzano-Lesnevich)

Even the wildest life, recounted straightforwardly from memory, will suffer from what Sven Birkerts calls “the coma-inducing effect of ‘and then.’” Good memoirists know this. So they reach into literature’s bag of tricks and find other ways to keep the pages turning: they speed time up in some places and slow it down in others; they layer two or more threads; or perhaps they find a structure that helps evoke the book’s meaning. All these considerations are part of shifting from thinking about your life as a life to thinking about the book as a book. But how can aspiring memoirists ready themselves to make that leap? In this session we’ll discuss strategies and approaches, as well as break down the choices made by a few published memoirists as they turned memory into literature. Then we’ll do a few exercises to help free you to do the same with your own material, turning life into art.

Featured Faculty:

tim_horvath_authorphotoTim Horvath is the author of Understories (Bellevue Literary Press), which won the New Hampshire Literary Award, and Circulation (sunnyoutside). His stories have appeared in Conjunctions, Fiction, The Normal School, Harvard Review, and elsewhere. His story “The Understory” won the Raymond Carver Short Story Award, and “The Conversations” earned a Special Mention in the 2014 Pushcart Prize Anthology; he is also a recipient of a Yaddo Fellowship. He teaches in the BFA and low-residency MFA programs at the New Hampshire Institute of Art, where he coordinates the Visiting Writers Series. He is currently at work on The Spinal Descent, a novel about contemporary classical composers, as well as a second short story collection.

 

Alexandria-Marzano-Lesnevich_MACD-15-201_414

Alexandria Marzano-Lesnevich’s first book, THE FACT OF A BODY: A Murder and a Memoir, is forthcoming from Flatiron Books (Macmillan) in May 2017, as well as from publishers internationally. The book layers a memoir with an investigation into, and recreation of, a 1992 Louisiana murder and death penalty case. For her work on the book, Marzano-Lesnevich received a National Endowment for the Arts fellowship and a Rona Jaffe Award, and has twice been a fellow at both MacDowell and Yaddo. Other scholarships and fellowships received include those from the Bread Loaf Writers’ Conference, the Millay Colony for the Arts, Blue Mountain Center, Kimmel Harding Nelson Center, Djerassi Resident Artists Program, the Studios at Key West, Vermont Studio Center, and the Alice Hayes Fellowship for Social Justice Writing from the Ragdale Foundation. Her essays appear in The New York Times, Oxford American, Iowa Review, Hotel Amerika, The Rumpus, and the anthologies True Crime and Waveform: Twenty-First Century Essays by Women, among many other publications, and were recognized “notable” in Best American Essays 2013, 2015, and 2016. She was educated at Harvard (JD), Emerson College (MFA), and Columbia University (BA) and now teaches at Grub Street, a nonprofit writing center in Boston, and in the graduate public policy program at Harvard’s Kennedy School of Government.

ritabanerjeeRita Banerjee is the Executive Creative Director of the Cambridge Writers’ Workshop and teaches at Rutgers University.  She received her doctorate in Comparative Literature from Harvard and her MFA in Creative Writing from the University of Washington, and her writing appears in Poets & Writers, The Rumpus, Painted Bride Quarterly, Mass Poetry, Hyphen Magazine, Los Angeles Review of BooksElectric Literature, VIDA: Women in Literary Arts, AWP WC&C Quarterly, Queen Mob’s Tea House, Riot Grrrl Magazine, The Fiction Project, Objet d’Art, KBOO Radio’s APA Compass, and elsewhere. Her first collection of poems, Cracklers at Night (Finishing Line Press), received First Honorable Mention for Best Poetry Book of 2011-2012 at the Los Angeles Book Festival, and her novella, A Night with Kali, in Approaching Footsteps (Spider Road Press), released in November 2016. Finalist for the 2015 Red Hen Press Benjamin Saltman Award and the 2016 Aquarius Press Willow Books Literature Award, she is currently working on a novel, a book on South Asian literary modernisms, and a collection of lyric essays.

DianaNormaDiana Norma Szokolyai is a writer and Executive Artistic Director of Cambridge Writers’ Workshop. She is author of the poetry collections Parallel Sparrows (honorable mention for Best Poetry Book in the 2014 Paris Book Festival) and Roses in the Snow (first runner-­up Best Poetry Book at the 2009 DIY Book Festival). She also records her poetry with musicians and has collaborated with several composers. Her poetry-music collaboration with Flux Without Pause led to their collaboration “Space Mothlight” hitting #16 on the Creative Commons Hot 100 list in 2015, and can be found in the curated WFMU Free Music Archive. Szokolyai’s work has been recently reviewed by The London Grip and published in Quail Bell Magazine, Lyre Lyre, The Fiction Project, The Boston Globe, Dr. Hurley’s Snake Oil Cure, The Dudley Review and Up the Staircase Quarterly, as well as anthologized in The Highwaymen NYC #2, Other Countries: Contemporary Poets Rewiring History, Always Wondering and Teachers as Writers. Szokolyai earned her Ed.M. in Arts in Education from Harvard University and her M.A. in French Literature from the University of Connecticut, while she completed coursework at the Sorbonne and research on Romani writers in Paris. She is currently at work on three books and recording an album of poetry & music.

applyDeadline: June 20, 2017

CWW Presents: Fertile Ground for Celebration – Democracy Center, Cambridge, MA – May 5

CWW Presents: Fertile Ground – A Literary & Musical Celebration – May 5, 2017

7 p.m. – 7:45p.m. Literary Readings/Performances
– intermission & book/album signing-
8 p.m. – 9 p.m. Musical Performances

Join us for a night of creative writing & music by and for diverse voices from NYC to Boston! Our evening will feature lyrical readings and musical performances by Matthew Wallenstein, Rita BanerjeeErini S. Katopodis, Sounds in Bloom (Diana Norma SzokolyaiDennis Shafer), Fawn (Anne Malin Ringwalt and Will Johnson) and Elizabeth Devlin, and will take place at the Democracy Center in Harvard Square, Cambridge, MA.

Tickets are available for pre-purchase in advance on Eventbrite, and will be available for purchase at the door starting at 6:30 PM. Sliding scale: $5-10. Your ticket helps us support the artists and the Democracy Center. Please note that the Democracy Center is not wheelchair accessible.

Here’s more about our performers:

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Matthew Wallenstein
‘s writing has been published by the University of Chicago, the University of Maine Farmington, Bowling Green Sate University and others. He lives in a small Rust Belt town. “Tiny Alms,” his new release, covers a range of topics from growing up in poor rural New Hampshire to mental illness to the deportation of his wife. It is his first book and was Published by Permanent Sleep Press.

 

 

 

ritabanerjee

Rita Banerjee is the Executive Creative Director of the Cambridge Writers’ Workshop and teaches at Rutgers University.  She received her doctorate in Comparative Literature from Harvard and her MFA in Creative Writing from the University of Washington, and her writing appears in Poets & Writers, The Rumpus, Painted Bride Quarterly, Mass Poetry, Hyphen Magazine, Los Angeles Review of BooksElectric Literature, VIDA: Women in Literary Arts, AWP WC&C Quarterly, Queen Mob’s Tea House, Riot Grrrl Magazine, The Fiction Project, Objet d’Art, KBOO Radio’s APA Compass, and elsewhere. Her first collection of poems, Cracklers at Night (Finishing Line Press), received First Honorable Mention for Best Poetry Book of 2011-2012 at the Los Angeles Book Festival, and her novella, A Night with Kali, in Approaching Footsteps (Spider Road Press), released in November 2016.  Her edited volume, CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing, will release in March 2018.  She is currently working on a novel, a book on South Asian literary modernisms, and a collection of lyric essays.

Erini S. Katopodis is a Greek-American poetry, fiction, and music writer from Los Angeles, CA. She’s graduating from Emerson College with a BFA in Fiction this May. Erini loves her music to be dreamy, folky, and intimate, with a touch of the strange, and loves making new sounds with new people. Performing with her are Shelby Marnett and Rob Luzier.

 

 

 


Sounds in Bloom (Diana Norma Szokolyai & Dennis Shafer)

Parisian literary life and contemporary art & music laid the groundwork and inspiration for Sounds in Bloom, a poetry-music-movement-art ensemble co-founded by poet Diana Norma Szokolyai & saxophonist Dennis Shafer in 2006. The Boston Globe has called their work “avant-garde.” Originally participating in David Barne’s Spoken Word nights in Paris and featured by Paris Soirees Salons, Sounds in Bloom now performs in NY, Boston and & Paris. Some places they have performed include The Firehouse Space, Pete’s Candy Store, Barbès, The Boston Conservatory, The Outpost, Theatre Salle Edmond Michelet, and the Cité International des Arts.

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Fawn is Will Johnson and Anne Malin Ringwalt. Combining elements of banjo, guitar, ukulele, synth and poetry, the duo explores the often-ignored spaces between pre-established genres. Fawn’s debut EP, “Neither Dog Nor Car,” was released on November 5, 2016, and their first music video, for “Good Earth,” premiered on NPR’s All Songs Considered TV in January 2017.

 

 

 

 

Elizabeth Devlin, with her haunting combination of lilting voice and enchanting Autoharp, is a self-produced NYC singer- songwriter. Devlin defies traditional musical structure with many of her songs, building miniature narratives and magical worlds where characters, fantasies and time collide. Devlin has toured nationally, internationally, & performs in venues throughout NYC’s 5 boroughs. “Orchid Mantis,” her newest full-length album, was released in February 2017 at Sidewalk Café’s Winter Anti-folk Festival in NYC.

CREDO: An Anthology of Manifestos & Sourcebook for Creative Writing (ed. Rita Banerjee & Diana Norma Szokolyai) forthcoming from C&R Press in March 2018!

The Cambridge Writers’ Workshop is proud to announce that CREDO: An Anthology of Manifestos and Sourcebook for Creative Writingedited by Rita Banerjee and Diana Norma Szokolyai, and produced by the Cambridge Writers’ Workshop (with assistant editors Alexander Carrigan and Megan Tilley), will be published on March 7, 2018 by C&R Press.  C&R Press began in 2006 as a literary press committed to publishing books from new and emerging writers.  C&R Press is interested in supporting authors whose thoughtful and imaginative contribution to contemporary literature deserves recognition and support. C&R Press’s catalogue includes exciting new poetry, fiction, nonfiction, as well as reportage/journalism.

CREDO. I believe. No other statement is so full of intent, subversion and power. A Credo is a call to arms. It is a declaration. A Credo is the act of an individual pushing back against society, against established stigmas, taboos, values, and norms. A Credo provokes. It desires change. A Credo is an artist or community challenging dogma, and putting themselves on the frontline. A Credo is art at risk. A Credo can be a marker of revolution. A Credo, is thus, the most calculating and simple form of a manifesto.

The Cambridge Writers’ Workshop’s CREDO: An Anthology of Manifestos and Sourcebook for Creative Writing is a raw look at what motivates 21st century authors. CREDO is a triad of creative writing manifestos, essays on the craft of writing, and creative writing exercises. These manifestos interrogate and harken back to the modernist manifestos of the early 20th century. The second section of CREDO focuses on craft of writing essays that examine the writing process with candid vulnerability. The third section includes writing exercises, which are meant to challenge and incite creativity.

CREDO is our declaration against violence and limitations of free speech. Our CREDO focuses on transgender poetics, world literature and aesthetics, collage and appropriation, and the politics of place. The anthology bridges the theoretical and the practical with accessible writing advice, and its ultimate mission is to inspire innovative writing and to provoke it. CREDO features writing from contemporary authors such as Kazim Ali, Forrest Anderson, Rita Banerjee, Lisa-Marie Basile, Jaswinder Bolina, Stephen Burt, Alexander Carrigan, Sam Cha, Melinda Combs, Thade Correa, Jeff Fearnside, John Guzlowski, Rachael Hanel, Janine Harrison, Lindsay Illich, Douglas C. Jackson, Caitlin Johnson, Christine Johnson-Duell, Jason Kapcala, Richard Kenney, Eva Langston, John Laue, Stuart Lishan, Ellaraine Lockie, Amy MacLennan, Kevin McLellan, E. Ce. Miller, Brenda Moguez, Peter Mountford, Robert Pinsky, Kara Provost, Jessica Reidy, Amy Rutten, Elisabeth Sharp McKetta, David Shields, Lillian Ann Slugocki, Maya Sonenberg, Kathleen Spivack, Laura Steadham Smith, Molly Sutton Kiefer, Jade Sylvan, Anca Szilágyi, Diana Norma Szokolyai, Marilyn Taylor, Megan Tilley, Suzanne Van Dam, Nicole Walker, Allyson Whipple, Shawn Wong, Caroll Yang, and Matthew Zapruder.

Stay tuned for our upcoming launch & book tours for CREDO!  For inquiries and reading engagements regarding CREDO and publications by the Cambridge Writers’ Workshop, Inc., please contact our agent, Natalie Kimber at The Rights Factory.

Rooms are Never Finished: The Legacy of Agha Shahid Ali – A Poets House Podcast

On April 21, 2017, writers Kazim Ali, Rita Banerjee, Amanda Golden, Shadab Zeest Hashmi, Patricia O’Neill, and Sejal Shah examined the life and work of Kashmiri poet Agha Shahid Ali (1949-2001) at the Poets House in New York City during their panel “Rooms Are Never Finished: The Legacy of Agha Shahid Ali.”  Celebrated for bringing the ghazal into English, Ali’s work explores cultural ties and divisions, the enduring qualities of love and friendship, and the difficulty of maintaining both.  These writers highlighted Ali’s groundbreaking work in their new collection of essays, Mad Heart Be Brave: Essays on the Poetry of Agha Shahid Ali (Ed. Kazim Ali, University of Michigan Press, May 2017).  A recording of their essays and discussions on Ali’s work can be found on the Poets House website here.